The third of Jokerside’s surveys of the Halloween franchise. All hopes of an anthology series had gone and the franchise was set on building a new continuity that paid close attention to the past. As it stretched into the late 1980s and mid-1990s, Halloween struggled to keep the Shape in his favourite pastime in a changing world of horror.
MICHAEL MYERS’ THIRD APPEARANCE IN HALLOWEEN 4 HAD ACHIEVED SOMETHING INCREDIBLE. A NEW BLOODLINE AND THE SERIES’ GREATEST TWIST. Spurred on by the return of buoyant box office, there was little chance the Shape could stay off the screen. A fifth instalment was quickly pushed into pre-production. But Myers was rivalled in threat by events away from the camera as the franchise strolled on. It’s impressive that a constantly the revolving teams of talent behind each instalment stuck to Halloween’s important continuity. It’s not surprising that the Shape couldn’t stave off the horror of diminishing returns.
Halloween 5: The Return of Michael Myers (1989)
“In my heart I knew that Hell would not have him”
Donald Pleasance rightly gets top billing at the start of the fifth Halloween film, before an effective if inexplicable pumpkin slashing exercise backs the main credits. After part four jumped straight into the action, Halloween 5 takes time to recap the ending of that previous film and show an unlikely escape for the masked killer; to the bottom of the mine shaft and then a fast running river. Who knew? Of course Myers survived, and with the slightest of nods to Frankenstein finds some respite at the house of an old man he dispatches… When he emerges from his coma a year later. It’s the same kind of continuation that the first two films relied on, so perhaps it’s not surprising that the following 97 minutes always seems to have keep an eye on Halloween 2. Here more than ever we’re watching this silent, homicidal anti-hero survive rather than his victims.
One year on
“She has something to tell us”
Moving on one calendar year has mixed results. The idea that Myers wakes up on Halloween may be a growing and compelling element, but loses a bit of power when the film flits through the year he spent undisturbed and physically unaffected in someone’s house. It’s more important that this missing year allows his bloodline to move on. After the twist of the last film, Jamie’s year in hell has left her mute like her uncle, under constant supervision in Haddonfield Children’s Clinic. It was no dream, but also she’s no murderer. Her foster mother survived and she is being treated rather than pilloried.
The fifth film explores the evident link between niece and uncle that the previous film established. She dreams of Myers as he wakes from his coma and we see a strange Norse symbol tattooed on his inner wrist for the first time. Even before the nod to earlier films, as she sees her uncle standing under a tree in the clinic gardens, she scrawls ‘He’s coming for me” as she assumes her role as a Myers detector and a tool in Loomis’ crusade to locate the murderer he knows is not dead.
“Have you come back home Michael? I know what you want from her…”
The treatment and sympathy of the town sit at odds with Loomis’s usual role as a lunatic outsider. Fortunately this time, although the audience can see the link, the Children’s Clinic is uninterested and the eminent Doctor of Myers is more desperate than ever. But as the killer circles once again, Loomis struggles to pull his plan into gear in a typically uncooperative town. The format needs to stretch around the Jamie developments, but it ensures that he remains the outsider with a view that no one will buy into too much. And his derangement only increases with his conviction. It’s almost a relief when early on he stumbles into the old Myers house, now derelict and overgrown, and manages to smile when he’s surprised by a dead rat. But rather oddly convinced that he has the answer to Myers, Loomis will now take unprecedented risks to stop the killer once and for all, and that early trip just serves to set up the finale. He might not be altogether with it if he thinks the original Halloween events took place “12 years” before but amid this unscrupulous desperation comes the oddest of things. After three films that painted him into a catalogue of errors, the indefatigable doctor actually gets some things right in Halloween 5.
“They should ban Halloween in this town”
Banning Halloween. What a good suggestion that is, one of the best Haddonfield’s ever heard. But still, it hasn’t happened. After the misstep of calling a curfew in the fourth film, one thing Loomis does get right is listening to Jamie’s warning and quickly trying to save Jamie’s foster sister Rachel. But for all that warning and the continuity with the previous instalment, she is cruelly dispatched early on after a strangely gratuitous dressing sequence.
“Why, why are your protecting him? …There’s a reason why he has this power over you”
Without Rachel, much sisterly connection falls to Tina Williams, although the connection isn’t drawn out. She’s certainly very close friend of Rachel and particularly fond of Jamie, and a lot hangs on that connection come the mid-point of the film. Continue reading “Halloween III: Difficult Middle Children”